When Justitia – having duly heard all the accused, witnesses and advocates – lays everything on her scales, this never happens following only the laws of moral gravity. It is far more complicated. And thus, it is hardly surprising if the goddess rolls her eyes occasionally behind her black blindfold, given the surprising movements her scales are forced to make. However, she is surprised into complete stillness when a famous opera singer suddenly appears during an inheritance suit, giving a false name and making the proceedings escalate by referring to a mysterious document. In short order, the appearance of the unexpected witness turns the inheritance suit into a situation that is literally life-threatening. Which person will leave the courtroom through which door? The options are: the main entrance, the prison door, the emergency exit and the gates of heaven. And it’s not Christoph Marthaler and Anna Viebrock, who roll up this spectacular case anew at Salzburg’s Palace of Justice, who read out the judgments on life and death of those present. Instead, Karel Čapek and Leoš Janáček are the ones whose musical tale asks the question whether the prospect of eternal life is really as appealing as is generally assumed.